Criticizing, Evaluating, and Describing Works of Art.

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 The artwork is a depiction of a bar at the follies popularly known as Bergere, painted by

Eduard Manet. It was considered as the last of his work in 1882 and was displayed at Paris salon

of the year. From a critic perspective, it features no space. The discussion can be based on

involving a barmaid while the clients represent an optical trick. This leads to emergence of issues

with the artists as illustrated form standing upon the left side, which is away from the artist’s

angle of vision (Collins, 2016). As such, he ought to ensure they stands on the right and ensure

they are close as contrasted by the reflected image depicting the presence of a man.

The art is named Judith beheading Holofernes. It illustrates taking the head of Holofernes

by Judith as the name of the art depicts. From a critic point of view, the art work represents

deception as illustrated by a stage that is painted in black ink. An analytical look at the piece of
art, Caravaggio was completely on the driving seat as Holofernes head is adjusted appropriately

awaiting being chopped off (Estes, 2013). As such, it represents a contrasting platforms and

times, since there are significant narrations that depicts Judith as seductive and pleasing towards

Holofernes.

The Pieta sculpture depicts Virgin Mary. The instance represents Virgin Mary holding

Christ’s body after being crucified, and having have died and subsequent removal from the cross

prior to being placed in the tomb. It is one of the significant events in her life popularly dubbed

the seven sorrows of Mary which are subjects to Catholic Church players. Such artwork were

non-existence during the renaissance period. Closer evaluation of the art, Mary’s body occupies

more space than Christ’s body, implying that she is strong and big enough to hold Jesus the way

she is represented (Bernardini, 2012). Nonetheless, the virgin in the artwork looks younger for a

person strong enough to hold a thirty three year old son.

 The artwork represents a Migrant Mother, depicting a life marred by courage and

hardship. The piece was developed in 1936, and was authored by Dorothea Lance. It was

developed for the support of Farm Security Administration initiative during the great depression

in America. The face depicts uncertain individual with the feelings of exhaustion, fear, and

unease due to lack of food. It explains the complete feeing of difficulties experienced in the quest

for survival during the great depression era. By looking at the picture, the audience can share in

the fear and strength exhibited by the woman and the progress of her kids (Curtis, 2016).

However, the photo does not overly capture the feeling of all women’s at the time as well as their

societal roles.
 Popularly known as Les Demoiselles d’Avignon, the artwork deviates from the typical

traditional structure and ideal of painting. It features five women who are naked featuring a flat

figure on a fractured plains with faces inspired by Iberian sculpture as well as African masks.

The painting was displayed by Picasso in one of the painting studios on Paris after several

months of designing and redesigning. A careful view implies the figure on the left is a man

although the artists deliberately excluded the detail from the final piece. The space appears

withdrawn as it comes out in spikey remains (Picasso, 2013). He is targeting life-threatening

issues associated with prostitution that inhibited the city. However, there are significant dangers

to an individual due to prostitution rather than sexually transmitted infections and morality.

The Basket of Apples was developed in 1893 by Paul Cezanne who was known for being

prolific in his approach to coloring meaning depiction, and purpose inclusion. In a critic view,

the artists, in the development of the artwork, assumes that we are aware of apples and how they

looks. His efforts goes to the shape, color, composition, and perspective to replicate an already

familiar environment for the audience (Spring, 2012). He incorporates perspective by

incorporating a table whose right side is not equal to the left.

 References

Bernardini, F., Rushmeier, H., Martin, I. M., Mittleman, J., & Taubin, G. (2012). Building a

digital model of Michelangelo's Florentine Pieta. IEEE Computer Graphics and

Applications, 22(1), 59-67.

Collins, B. R. (Ed.). (2016). Twelve Views of Manet's Bar. Princeton University Press.

Curtis, J. C. (2016). Dorothea Lange, migrant mother, and the culture of the Great

Depression. Winterthur Portfolio, 21(1), 1-20.

Estes, H. (2013). Feasting with Holofernes: Digesting Judith in Anglo-Saxon England.

Exemplaria, 15(2), 325-350.

Picasso, P. (2013). Picasso's: Les Demoiselles D'Avignon. Cambridge University Press.

Spring, J. (2012). The cultural transformation of a Native American family and its tribe 1763-

1995: A basket of apples. Routledge.